VPO, Daniel Barenboim, Pierre Boulez, Jacqueline du Pre, Wilhelm Furtwangler, Arnold Jacobs, Ahron Barak and B*TCHes.

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MAY 8, 2009

http://www.nytimes.com/2009/05/08/arts/music/08classical.html
★ DANIEL BARENBOIM AND MEMBERS OF STAATSKAPELLE BERLIN (Monday) It should surprise no one that splitting the conducting of the complete Mahler symphonies and orchestral song cycles with Pierre Boulez in a concentrated series of concerts with the Staatskapelle Berlin is not enough to keep the workaholic Daniel Barenboim occupied for a couple of weeks. So on Monday, a night off from the symphony series, Mr. Barenboim will be joined by members of the esteemed Staatskapelle Berlin orchestra in a program of four chamber works by Elliott Carter, including the Sonata for Cello and Piano and the Quintet for Piano and Winds. Mr. Barenboim is a great Carter champion, and Mr. Carter, now 100, promises to be there. At 7:30 p.m., Zankel Hall, Carnegie Hall, (212) 247-7800, carnegiehall.org; $54 and $60. (Tommasini)

This one should be recorded. PERIOD. Then, I can explain, while contacting all the possible orchestra members, who want to play BETTER, WHY workaholic Barenboim achieved so little with those sh*ts. Especially clarinet… TV-monitor should capture this sound, posture, and everything.
Whoever he is, this must be Glander’s copycat. If you listen to any other orchestras, whether French or German or American instrument, it is easy to analyze the entire wind section whenever you hear a hint of this Eurotrash.
Flute sits right in front of it, and any clarinet, who wants to rule his ensemble, plays directly to Flute’s head.
Few (European) oboes remember tuning-machine after playing A-A-A-A before the concert. (Has this tradition started from Bashkirova’s Hansjoerg Schellenberger?)
Bassoon is lost between NO-string-section-sound and out-of-tuned-woodwind or it even plays the leading role with its typical, hum-what-do-I-say sound.
HORN SECTION sits right behind clarinet or around them and each member hears each different tuning-system (from violin to contrabass or from flute to tuba), and then they can’t project their sound because woodwind, especially Glander’s DEAD clarinet sound, functions as a Berlin Wall. To project, they have to be aggressive and aggressive, or raw and raw, or scattered and scattered.
Listen to Mehta’s Horn section. They can go to everywhere. They can go even further… as technical as possible, because Mehta is not homosexual. (How come there is absolutely NO information about his illegitimate kids from Israeli fiddler or female-partners during his heydays in
Wikipedia: Zubin Mehta? Mehta’s only contribution has been to train Barenboim NOT to listen to his ensemble partners whenever he feels lonely and to make this poor/naïve musician act as if Danny-Boy is the happiest mama’s boy before and after the performance. God bless Mehta!)

THE RESULT: WEDO’s DEAD SOUND or Tumultuous Mahler-or-Wagner-or-Anything from BERLIN. And then…. Do they want to imitate du Pre’s melody-or-phrasing? Listen to WEDO’s oily interpretation. THE END.

Did I mention SOLOIST Clarinet? I NEVER did. My only concern was, is and will be orchestra members.
Long Live Matthias Glander, the Soloist Clarinet!

By the way, I rather want to listen to Boulez’s Mahler with those, because I recently realized that there’s been a huge change in his VPO since the retirement of some old members. Speechless…

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Starting from DECEMBER 30, 2008 to JANUARY 19, 2009

(Updated on JANUARY 15, 2009)

It was on Jan 6: “I can’t understand why it is much more difficult to organize just one day’s happenings in Gaza. (…) VPO and New Year Concert 2009 (…) Will you say rushing the tempo? I will say lack of imagination. (…)”

It seems now that it is time to prepare day after the Operation Cast Lead and I now know it was due to Dorit Beinisch’s Banana-Republic. Who says that Hague court must investigate Gaza war crimes-group? Leader of the International Coalition against Impunity? Or former ICC judge? The international court is not interested in this case yet. Should I contact them with my Barenboim-message? It will be damn interesting to watch how those international judges handle this Jewish case. Does a real court really exist? If so, I want to ask them my case first.

Rushing the tempo…

Until couple of days ago, I just couldn’t understand why this top-rated orchestra is showing this symptom. (I said top-rated… instead of top-famed…) This is clearly different from the BPO’s comical Tango-or-others. I will call this case a top-famed ensemble.

My analysis starts…

Those pigs sticking around Barenboim, two Angels in particular, have been darn busy at following my analysis. Of course, I knew this from the very beginning. I knew they would do this but kept writing how to improve and mentioning so-called sex-theory whenever possible. Have they proven their improvement? All of them rather went to the comical, comical and comical place.

Ho-Ho-Ho… and SIC!

(Updated on JANUARY 19, 2009)

In America, I was able to survive not because I stuck around Dale Clevenger’s fame-or-teaching-or-whatever-sic, but because I never gave up studying Jacobs-theory. (… couple of days of writings are deleted. Everything is a mere repetition of my old writings. After all, I am done with everybody in Chicago, where no one is proving and will prove Jacobs-theory any more…) However, it was while collecting all the disgusting information about Dorit Beinisch that I had to recall this American name again and again. I feel sad but I can promise that Ahron Barak will never accept my willingness to prove his genius ideas. He will side with this dirtiest b*tch, Dorit Beinisch, even after his death. Just like Arnold Jacobs, who refused to accept the very fact about failure of his legendary fame until his last moment.

What’s the difference between Ahron Barak and Arnold Jacobs? The only reason why I wanted to ask Mr. Jacobs to lead his disciples in a right way, by telling everything, before his death was that I’ve never seen more pure hearts than his American followers. They were unreasonably pure. They looked so naively pure that I wanted to help them, and they only listen to their mentor. Where are they now? I promise. None of them will blame their mentor for giving up their professional dream. They will blame their poor talent.

For this reason, I feel absolutely NO urge to ask Ahron Barak anything that should exist for the better future of his Jewish State. How many followers are pure enough to welcome Barak’s new way of life? Even now, they are so afraid of losing all the privileges they used to enjoy. I am just curious. What will happen to Dorit Beinisch’s Banana-Republic after Ahron Barak’s death? Arnold Jacobs passed away in 1998, and it took less than couple of years for no one to recognize who is playing with his theory. A legendary theory should sound legendary, and it was already during his lifetime that everybody was sick of his musician’s trashy sound. In Israel, everything already looks like Phoenix-Bibi’s Barbie doll and Ahron Barak is still alive. After massacre of Gazan Children during the OCL, Bibi’s Voodoo doll for Palestinian kids won’t be enough. Additional plan to build the most beautiful gas chamber for Ahron Barak’s disciples will be required. Do I sound like a nut?

Where should I post this writing? In Knesset-blog or Music-blog?

With Jacobs-theory, everything was fine, except…: “I have many different kinds of hats. As a performer, I wear performer’s hat, but when I teach, I take off the performer’s hat and put on the teacher’s hat…” (Notice: I usually don’t follow Jacobs’ musicians. I only follow Jacobs’ theory.)

Since this is also a part of my old writings, I feel no need to write more details. So many happenings with this Jacobs or Sex-theory. One day during the early period of this bimbo-battle, during which ALL the musicians were crazy about Barenboim’s international fame behind my daily report, I was watching the musicians, who were darn busy at boasting their heavenly talent right in front of me. One guy was real strange. Soon, I felt like I was watching the porno. (He was a fiddler, by the way.) Well, I prefer to watch professional porno. Watching one ugly man’s favorite sex-posture and his comical face? A legendary sex-posture needs to be changed at every moment, needs to be alive during the intercourse because everything is up to the partners, places and moods. A sexual intercourse means communication, doesn’t it? Had his sound hooked my attention, I would have never dared to think of his sex-story. He sounded much worse, in fact. He sounded real comical, just like his face. My problem? I never want to watch this fiddler again. Whenever I think of that moment, I feel dirty. When I happened to watch sex-clinic on TV and found Jacobs-theory right there, it looked so beautiful. And they were not porn stars. They were a real couple.

You can study theory. You can teach the theory. You can learn the theory. However, You can never think of the theory on stage. On stage, you only follow your instinct. You just have to answer your instrument, which is questioning every each note. Then, what’s the difference between Jacobs and me? I like to analyze my own music during the performance while he didn’t want to. (Somehow, I never understand why he had never analyzed his own performance while he wanted to meddle in everybody’s music business.) I had to… because I always started with Sound-A, suffered from Sound-B-to-Y, and ended with Sound-Z… then I was physically ill after the performance.

It’s possible to analyze your own performance during the performance, but still, you can’t control it nor change your sound in a certain way. You only follow it, because you can never betray your instinct. That’s my case… perhaps because I am so tiny compared to Western physical shapes. (There are few exceptional cases, but even in this case, I’ve never seen they speak to my heart whenever their big body manipulated their sound. Their brainy performance used to speak to my brain.) Should I write more details about those comical figures, Barenboim’s Angels in particular?

This is why Barenboim has never been able to train all those pigs around his international fame despite his daily lecture or meaningless babbling during the workshop or masterclass or… This is why MUSIC suddenly started to grow elsewhere, where performers tried to avoid Barenboim’s musicians, Zubin Mehta in particular. This is why I never plan to accept Barenboim’s Jewish youngsters, who proved the happiest face during their performance with Kremer’s sh*t. You can never deny your instinct.

I promise. Those VPO members, who proved their imagination, who proved their top-rated music after reading my sex-theory, have never thought of Viagra during the performance. They only followed their instinct and it worked fine purely because Mehta’s musicians never dared to speak out. (Just like Maazel’s NYPO’s performance in North Korea.)

Both legendary musicians and cats-or-b*tches are famous for sex-scandal, anyway, and it is very interesting to analyze both cases. Concerning the fact that Elena Bashkirova will never give up appearing in Barenboim’s Italian tour, I am thinking to start my commercial business, which is after the movie, ‘Hilary & Jackie’. It will be a good idea to use computer to make this live nude show into different versions, introducing all the possible sex-postures of Elena Bashkirova. I promise. My commercial film will hit the entire world. As I promised before, neither I nor du Pre’s family, but Bashkirova’s own son will finish this dirty story. Barenboim’s son will appear at the end of this docu film and read Divan’s analysis of Bashkirova and Barenboim’s nude performance.

What do you hear from Jacqueline du Pre? Sex? Emotion? Melody? Sound?
What do you hear from Wilhelm Furtwangler? Sex? Emotion? Melody? Sound?
You surely know that you hear none of those from Pierre Boulez.

I hear math from Jacqueline du Pre. In her case, melody simply means connection between the two notes. I do hear math from Wilhelm Furtwangler too. I can’t think of other words than ‘precision’ to describe this maestro.

Then, what’s the difference between du Pre and Furtwangler?
If I hear du Pre doing the math on her instrument, exactly calculating every each note trying to find the best possibility from her instrument, I hear Furtwangler asking his members to play like du Pre. Sometimes, he feels strong urge to ask them to take a short cut. This is called tempo fluctuation.

In case of du Pre or Furtwangler, sound means something basic. This is why Barenboim’s VPO showed this symptom when they tried this interpretation, because nowadays, musicians hardly play like this. When they think of interpretation, they think of phrasing, bowing, tonguing, etc… Sound means everything, however. It includes air, sex, color, emotion, imagination and so on… Then it is followed by all those miscellaneous stuffs such as phrasing…

Have you ever heard those same members rushing tempo under Maestro Boulez? They never do this especially under other conductors, who are considered much more inferior to Barenboim; much more inferior, in a real sense. Did Barenboim ask them to do so? This symptom suddenly disappeared while playing Hayden. Did they sound inferior during this performance? All these happenings simply tells me how difficult it is to ‘start’ Furtwangler’s interpretation. Then… again… I can’t understand why they play like this. If I were talented just like them, I shall be able to boast, boast and boast my heavenly performance. Should I envy them or feel pity on them?

This is why you hear music from Boulez’ VPO while his other ensembles sounded like nothing special but just technically superb music business. This is why I want to hear sex, emotion or melody from Boulez’s VPO. This is why I want to hear composer Boulez play composer Tchaikovsky with his VPO. Only then, all those three will meet in the same place.

Did George Harrison write ‘While My Guitar Gently Weeps’ for his Beatles?
Daniel Barenboim will write ‘While My String Deeply Weeps’ for his Boulez’ VPO.
Pierre Boulez will wink at his boy; “Within You Without You… Mind your own business!”
What will Pierre Boulez say to Barenboim’s Divan 2009? Damn curious… because they are epitome of imitation, mannerism and so on…
I will post everything, of course.

Anyway, if I find one more sh*t around Pierre Boulez, I feel no need to express my respect. Still, there is no problem with my life without this music. Clearly, those pigs planned performance schedule of Divan 2009 after reading all my writings and I can promise that they will never make it. We’ll see.

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(Updated on DECEMBER 30, 2008).

I am ill today.

Associazione per il Festival Internazionale della Musica di Milano
Il Sindaco di Milano, Letizia Moratti
Fondatori: Stéphane Lissner
Comitato di Patronage: Pierre Boulez / Franz Xaver Ohnesorg

Has Pierre Boulez known he was working with this Eurotrash? Has Barenboim known this? I promise. If I find one more sh*t around Pierre Boulez, I feel no need to express my respect. Still, there is no problem with my life without this music.
Now, can you understand the reason of Meier’s Belcanto iterview in France? It was after La Scala’s Tristan 2007. I myself realized its real reason after finishing my Barenboim-message to Italian PM. Now, I am seriously suspecting… who has been behind this f*cking Korean guy, who kept sending all those disgusting messages through my cell-phone. The message was getting more and more feel-like-vomiting in recent months. For a while, I felt no need to respond it, but now I want to finish my business with this f*cking Korean guy.

P.S.1:
I am soon going to start my mailing to Arab world. I will raise Settlement issue while pleading Israel’s right to defend itself against Hamas. I had to sleep all day, and during this several hours of ‘pondering’, I’ve come to the conclusioing that this is best for both Israel and Palestine.

P.S.2:
I am done with the VPO members. I promise that I won’t touch anything about their music business unless they officially ask me to do. So, I just hope them to feel FREE and make the best music ‘with’ Maestro Barenboim. I can’t watch its concert. Even if I have an opporunity, I will NOT watch it. So… PLEASE FEEL FREE! If… they know how to realize why this homogenius group under ‘special’ Boulez, (not always…), suddenly looks ‘unbalanced’ gathering ‘under’ Maestro Muti, they will suddenly realize the best way to follow all Barenboim’s ideas, which only concern is to join Furtwangler. Or course, there were member changes, but this doen’t explain its main reason. Still, several ‘mere’ members wanted to go forward, but couldn’t. Their *********** looked heavenly musical. Anyway, I need to update new assignments for Barenobim’s Divans but no time…

P.S.3:
If Maestro Levine promises Barenboim a regular performance schedule in HIS BSO, I can help his business a bit more. ^.* In fact, I’ve wanted to send my message to the BSO’s several members, but was afraid of its unnecessary aftermath.

(Updated on DECEMBER 31, 2008).

http://en.epochtimes.com/n2/content/view/9419/
See… Those guys are TOO serious UNDER Barenboim. This is why I never wanted to meddle in their business. Now, this is my LAST advice. (sic) There were several members among the string section. The very basic of Barenboim’s VPO should start from their smiling IMAGINATION!!! Then, take Viagra right before the concert, NOT during the rehearsal. (Think of its acoustics!) Then, Maestro Barenboim should always remember that those old folks lack enough oomph during the rehearsal… (What was the very basic of Jacob’s theory?) Anyway, I never knew the Viennese waltz can prove Furtwangler’s interpretation until I watched ‘Oil-&-Water’ like ensemble technique under Maestro X. Surely, Maestro Boulez and Maestro Muti share the similar baton techniques but the result among the members ‘look’ nearly opposite. (Then what about the difference between Maestro Maazel and Maestro Muti? I need to watch Maazel’s VPO more. Part of Maazel belongs to Boulez and Part of Maazel belongs to Muti, I assume.) Undoubtedly, Maestro Boulez and Circusman Mehta share the exactly same standing posture and the similar picture of baton techniques, but their music sound really opposite. What is their reason? I know Barenboim’s Divans can never answer it, so this is not going to be for their assignment. Perhaps, Zarin Mehta knows it.

(Updated on JANUARY 6, 2009)

I can’t understand why it is much more difficult to organize just one day’s happenings in Gaza.

VPO and New Year Concert 2009
Now, I have to watch this performance. There are moments and sudden changes. I want to watch what a change is happening with their body. See… I still hear the same imagination from those same members. Then, they still want to go, go, go. They can’t because part of members don’t know how to join their imagination. Will you say rushing the tempo? I will say lack of imagination. Perhaps, everybody doesn’t know how to make ONE solution when their issue comes to X, which is very basic of Furtwangler’s European interpretation. Of course, I won’t say what means X. I can give you two clues:
(Clue1: … Clue2: …)

If you still don’t know how to answer, why don’t you listen to Richard Strauss conducting VPO playing Richard Strauss? There is one clear difference between old-fashioned performance and modern one.

P.S.1:
I watched part of it… what the hell is all this everybody’s excessive/useless body language?
1. Right… those guys are improving… same as in 2008 but still have ability to improve.
2. This * should play better. Much better… if he really wants to answer his native talent. In addition to his basic problem, his posture is slightly wrong, but the result is huge difference.
3. Hum… now I can understand why it took time for * to find the right balanced ensemble technique. I thought it was due to his limited talent…
4. Whose idea is it to allow * to sit right that spot and therefore destroy more than half of members’… without this, the entire performance could have been much much better… sigh

P.S.2:
Though this doesn’t belong to Barenboim nor VPO, I always wanted to write this… It was not from American blog and I didn’t save it. I just remember what I read. One guy heard Rattle’s rehearsal with Venezuelan kids during his international tour and he posted it to honor Sir Rattle. There, he mentioned one particular happening about Rattle’s teaching. Since he used quotation mark, I don’t think there is misunderstanding. To cut the long story, there is a very specific technique in those youngsters brass playing. (It could/might explain woodwind too.) It seems that they learned it by instinct because foreign players don’t play like this. I still need to listen to more of their performance, but they sounded different. In some way, it sounds very close to Furtwangler’s X, but in some way, it is more than opposite. In their recordings, they sounded like anti-Furtwangler… for some reason. If it is part of Furtwangler’s favorites, Rattle’s teaching simply tells me that this British guy knows nothing about brass-techniques. Also, Dudamel rather encourages its negative effect. I am very curious, because those guys are getting old and only talented body can get close to Furtwangler. A Normal body, especially male, will choose the opposite way and will sound just like Rattle’s judgment of their poor performance. I just hope those youngsters develop more sensitive, more relaxed muscle as they get old… then their mature interpretation will allow them to join Furtwangler’s favorite idea. To be exact, the very basic of Furtwangler… (I want to know… Am I insulting Sir Rattle or Dudamel? Whenever the issue comes to the Venezuelan youngsters and their grouping-sound, I can’t help throwing a sharp criticism against ALL the internationally renowned maestros, who just seem to enjoy destroying this golden outcome of decades-long hard working. Sorry… but I can’t help it. You can never taste this mature culture by inviting individual soloists from this youth ensemble. You have to invite the entire section to honor their valuable ensemble technique.)

P.S.3: I was curious… When was the last time I sneaked into Google-Group? Well, now I think it’s time to bid farewell to this group. Where are all those terrific postings? Does it now become a chatting room to insult Barenboim? No wonder one of stupidest comment came from the guy who called my Barenboim-message a lunatic babbling. What did he say? (…)

This guy makes me sick again. So, Bashkirova is not the one who will cancel this concert. Who will sit next to this b*tch? We’ll see.
http://www.ks-schoerke.de/content/en/artists/klavier/bashkirova/konzerte/januar

Anyway, I found a real posting. Then… as usual, couple of very good postings from Italian sites.

I’m not an enthusiast for this concert, but my other half (who has reasonable taste for the other 364 days of the year) insists on having it on the radio. I shut myself away in my room with the PC but the sound filters through. This year, in fact, the Blue Danube caught my ear, and I went through to listen. It’s difficult to describe, in words, the ‘idiom’ of waltz conducting, but it seems to me that DB employed a subtle fluidity. The phrasing shifted imperceptively from 1st beat to 3rd beat, and the gentle note lenghthenings also, sometimes the 1st beat, sometimes the 3rd, and not always the stressed notes. It was certainly very attractive to my ear, as though I was hearing it for the first time.
The word ‘idiomatic’ actually troubles me. It conjures up images of a secret committee adjudicating on whether a performance conforms to some rigid tradition. They probably bow down low in front of the pickled conducting hand of Willi Boskovsky before delivering their judgements. Does ‘idiomatic’ mean conforming to these norms, or does it mean finding a new subtlety?
For Pretre last year I think it was the wham-bang pieces that caught my attention. I can’t remember his Blue Danube – didn’t register – so can’t answer your question.

(Updated on JANUARY 7, 2009)

P.S.: By the way, I gave you wrong clue. It starts with this Youtube, of course, but it has nothing to do with its title. I thought that the comment was inside this link. The real clue is found in Google-comment, who posted this link. And I saw that during Divan’s tour schedule, Barenboim was totally lost in his conducting style. Of course, among the internationally renowned conductors, Barenboim is not the only one. If one spends in * for a long time, he only develops bad habits, because not only he is chained to the local trashy sound but also he works too hard and chooses the opposite way. In either way, he is failing. Anyway, whenever I hear a hint of Divan-sound from this VPO… so sick of those pigs. I have to update Divan’s assignments as soon as possible…

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Please check
🙂 Boulez, Tchaikovsky, Tradition, & Mentality

AUGUST 19-20, 2008
From Private Blogger: “I don’t care at all for tradition,” said Boulez in the interval interview on Radio 3. “I like to establish my own tradition! . . . A tradition is just an accumulation of mannerisms and. . . imitations. The real approach is just to take the score, a personal relationship with it, and try to give that to the audience.”

AUGUST 21, 2008
And then… my problem with Mentor Boulez is exactly with his own comments. This is exactly what I hear from his disciples; “his own tradition… mannerisms… imitations…” Then again, I never heard Boulez, who is famous for XYZ, mention this awful situation.
Well… one of poorest horn player I’ve ever seen was from Boulez’s IRCAM during its Chicago tour. Not surprisingly, he looked nervous, but he did survive the whole concert with no missnotes. I know there is no lie when he explains the characteristic of his conducting technique. That’s Boulez. Then why do you think Boulez’s VPO, which hooked your attention and eventually made me accept your invitation, didn’t sound like Boulez’s BPO or Boulez’s CSO? In case of Maestro Boulez, everything is up to individual instrument and the balanced relationship between the whole ensemble. This is why only Boulez’s VPO got you to hear the members create the synergy. I bet… you still didn’t figure out the reason of you own article that moment years ago, did you? Now that I am soon going to quit this work, I don’t mind giving you a clue to answer your own question. If you still have no idea… that’s your problem. SIR!
I want to finish “Dear-Arab-Readers” first. But I need to organize so many unposted stuffs, which I happened to save in my draft notes. Everything got messed up. I am almost done. Just… it seems that my sore eyes are covered by a thick cloud. Bye.

AUGUST 22, 2008
Continued… (It was not a planned writing.)
This is why only Boulez’s VPO got you to hear the members create the synergy. This is why his VPO’s horn section had to imagine another world of music and then miss the notes even though maestro didn’t ask them to play the notes with better sound. (It is not the same mistakes during their Metha-Brahms performance, during which Mehta’s instruments destroyed their music business.) This is also why Boulez’ other ensembles never worry about technical mistakes. More inferior, more satisfied with their own achievement. This is why I always wonder…
I am just thinking. What if maestro Boulez is more interested in composer Tchaikovsky? (There is Boulez’s another interview about Tchaikovsky.) Why doesn’t he take Tchaikovsky the same way he treats Bruckner or Berlioz? Composer Boulez doesn’t have to like Tchaikovsky-orchestras, whose only aim is to destroy Tchaikovsky’s imagination. Once upon a time, I happened to chat with composing/musicology student, who joked that there is a homosexual element in his music. No way to ask HER more about it. Nor have I a chance to meet HER again. Still, I never understand what it means. I assume that she misunderstood aggressive+dull sound as a male, muscular characteristic, especially in performance area. (She never seemed to hear that some females make more aggressive/thorny sound than most males…) I bet… if maestro Boulez happened to understand composer Tchaikovsky as all the colorful, imaginative qualities rather than as boring, simple, and third-rate pop-like melody, composer Boulez will have a real hard time to find his favorite performers, who are willing to play Boulez. What a difficult piece Boulez is…
Anyway, my problem with Boulez is not Boulez himself. Is there better musician than maestro Boulez who has an ability to ‘remember’ how to ask all the details from his members? His disciples? I don’t go to their Boulez-concert, whether they appear as maestro Boulez’s soloists or composer Boulez’s performers. My only problem is neither Boulez himself nor his disciples, but his treatment of those big-mouths. Because he was famous for XYZ… especially in France. Innocent public adores those big-mouths, mainly because of Boulez’s notorious fame as Mr. Sharp-Mouth. And I still prefer Tchaikovsky to Boulez. (…sorry…) Then, I hate to listen to both Tchaikovsky-band and Boulez-performers. I’m pretty sure maestro Mravinsky knows what I mean. (I still want to read ALL the behind stories between maestro Mravinsky and his members.)
Then, Barenboim’s recent VPO, including blogger’s comment on their Proms 2007, tells ms something again.

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